The treasury of knowledge and library of reference / [Samuel Maunder].
- Maunder, Samuel, 1785-1849
- Date:
- 1848
Licence: Public Domain Mark
Credit: The treasury of knowledge and library of reference / [Samuel Maunder]. Source: Wellcome Collection.
50/976
![COLD WATER DID FOR HIM WHAT DRUGS FAILED IN DOING 36 ^ C0mjpmtriou^ C^nrjlis'lj CFrammnr. “ In such instances, a dcCTce of dissatis- faction arises, from the violent separation of two things wliich ought to be intimately such separations ; nor, perhaps, is it al- ways necessary ; yet, if many words in- tervene, suspense, if not ambiguity, must be the consequence.” est impression ; the first and lost words of spicuous.” “ Great animation arises from placing ‘ Sunk are thy bowers in shapeless ruin all.’ When, however, the leading object is not only to give weight to the sentiment, but also to sustain the attention, or sus- pend the curiosity, important words may be placed advantageously at the close: thus, ‘ Happy the man who, void of cares and strife, in silken or in leathern purse retains a splendid shilling.’ ” Rule 4. — “ The strongest part of the thought, or that which forms tlie result, should come the last, for which reason, all circumstances, and all conditional mem- bers, ought to be placed in the middle or “ Thus if, instead of saying, ‘ Woman certainly is the joy of life, rationally speaking,’ we say, ‘ Rationally speaking, woman is certainly the joy of life,’ we add to the force of the observation, while we improve the sound.” Rule 5 ‘‘ The plain and grammatical order of a sentence, may be deemed the most consistent rvith ease and simplicit3’. Inversion, or the disposition of words out of that order, is a branch of ornament combining sound, sense, and effect; and is employed chiefly in works addressed to the passions, emotions, or imagination. It should not, however, be indulged, but to reach some beauty, or produce some ef- fect, not attainable by the usual order.” By a plain grammatical order, the effect of the following sentence would have been destroyed: — “ Upon them (the European civil ser- vants of the East India (lompanyl in epn- segucnce devolve the duties of dispensing justice to millions of people, of various languages, manners, usages, and religions ; of administering a vast and comiilicntcd system of revenue, throughout districts equal in extent to some of the most con- siderable kingdoms in Europe ; and of maintaining civil 9rdcr in one of the most iiopulous and litigious regions in the world.” 7?u/e6.—“Though a sentence should not, in general, be concluded with an in- considerable word, or with a particle, ns, bu,from, about,of, with, up, U>, &c. i yet ccr- taiii words included in this vague term, it particularly signifleant, may •ith great propriety terminate n sentence: thus,— “ Not many days ago, you saw her young,licnutiftil, virtuous, and happy : yc who are iiarcnts will judge of my felicity then: yc will judge of my aflliction now. “ As ill the next world, so In this, the only solid blessings are owing to the goodness of the mind, not to the extent of the ca^ pocity; friendship here is an emanation I “ Compound verbs, such as bring-about, laij-hold-pf, clear-up, and others of the I s.ame kind, are ungraceful conclusions of I a period : if, instead of tliese, a simple verb noun it, especially when joined with a sentence.” “ Sentences are sometimes too long, at period, perfectly clear and well con- structed, if not BO prolonged as to exhaust the patience and attention of the reader,' is always beautiful and pleasant; but the extreme difficulty of constructing such periods, renders them often feeble, un- graceful, and obscure.” “ Lastly, the strength and beauty of a sentence may be promoted bj’ a judicious use of the figures incrementum, climax, and antithesis, and of figurative language in general.” OF RHETORICAL FIGURES. “ A figure is the expression of a sentiment in a manner different from the ordinary way, to render the discourse more em- ; phatic and ornamental. 1. “5'oni7e is that by which, for ornament or illustration, we make formal compoii- ' son : ” thus, “ All flesh is as grass, and all; the glory of man as the flower of the flcld.” “ Strictly speaking, the simile is not a figure, as there is no change of language. ! 2. “ A metajibor is a simiie without! formal comparison : ” thus,— j “ An idler is a watch that wants both ' hands; As useless if it goes, as when it stands.” ; 3. “ An allegory is a continuation of metaphorical language through several sentencestlius,— “ ’Tis done 1 dread tVintcr spreads his iatest glooms. And reigns tremendous o’er the con- quer'd year. ] Behold, fond man ; ' Sec here thy pictur'd life ; pass some few years. Thy flowering Spring, thy Summer's , ardent stiength. Thy sober Autumn fading into age, 1 And pale concluding Winter comes at Inst, And shuts the scene.” i. “ Catachresis, or abuse of words, is any harsh trojie, but commonly an over- strained metaphor ns,— “ Whence tlic scar'd owl, on pinions gray, Down the lone valley sails nwaj . 5. “ Nypcrhole is an excess of figurative, and gcncndly of metaphorical language: 03, “ Rivers of blood, and hills of slain.” 6. from/ is a troix: in which the sign and the thing signifloci arc directly contrary : in which wc siwak contrarily to what wc menu, and arc so to be understood: thus,— key. WHETHER IT UK A DIVINE UF.VELATION OR NOT. KEY COLD WATER DID FOR HIM WHAT DRUGS FAILED OF DOING, OR, FAILED](https://iiif.wellcomecollection.org/image/b22023203_0050.jp2/full/800%2C/0/default.jpg)
